Li Zhen and Chu Xu are shanghai
One of the few mother-and-son scholars
Held not long ago
The 6th Shanghai Newcomers New Works Exhibition is under review
Chu Xu was among the unsuccessful exhibitors
The work scores higher
Therefore, he joined the Shanghai Book Association
Review event for unsuccessful works
Teacher Wang Ke for his unsuccessful work "Trumpet Pulse"
He looked a little excited
Speaking somewhat quickly
He said that the teacher works for the students
Corrections were made in Zhu Wen
And summarized the five points of attention for submission
For the students to create later
It plays a role in checking and filling in the gaps, and the harvest is very large
Yu Han, Li Zhen, Chu Xu
In 2011
Li Zhen attended the Shanghai Theater Academy
Research direction of calligraphy art with Shanghai Book Association
Advanced Workshop
At that time, she worked for a central real estate company
There is a project in Chongming
She stayed for 8 years
Some people wonder, how can they stay?
Li Zhen smiled:
"Just enough to write quietly,
Carefully complete the homework assigned by the teacher every week"
Li Zhen and Chu Xu mother and son
Whatever the heart desires, the deeds go
On Chongming Island, away from the city center
Keep the loneliness and soak up the art of books
Get used to talking to the ancients
It is to like such a way of life
This is what she has achieved and improved today
The woman who came to Shanghai in 1999 to work hard
Her entrepreneurial history is a history of struggle
A story of dreams and hopes
In her, there is resilience and not being afraid of suffering
Work towards your goal
Any difficulty is not enough to fear
She hopes to be a good example for Chu Xu
So many years
Li Zhen's mother and son wrote at home
The dining table doubles as a desk
The aroma of pen and ink is mixed with the aroma of food
The room was small but the windows were bright
Dreams and hopes
——Yu Han interviews mother and son writers Li Zhen and Chu Xu
Yu Han: Li Zhen's calligraphy works have been exhibited in the 2011 Shanghai Newcomers New Works Exhibition, which has been in the exhibition for 10 years now, and will be included in the exhibition almost every year. As a post-70s bookmaker, it is not too early to start, can you talk about the taste of insisting on the exhibition competition?
Li Zhen: It is really painful to start late, and it is almost a year since I really touched calligraphy. But there is a saying: Not afraid to start late, I am afraid that you dare not, "children are eager to learn, like the sun of the sunrise; strong and eager to learn, like the light of the sunrise; old and eager to learn, like the light of the candle." So from the very beginning, I consciously submitted articles. I think that the participation in the competition can better exercise people, because usually the post only seeks the orthography and penmanship, and does not consider the ink method, chapter method and form. Improve your writing and creative skills by practicing instead of sai. In a competitive state, purposeful and targeted writing will make you more serious and think, which is more meaningful and challenging than writing without purpose.
"Smart work can catch male lions, but it is difficult to catch crickets." To do anything, we must pay attention to methods and strategies, and I am lacking this, I will only work hard, so it is not smooth on the road to submission, even very difficult, failing again and again, how many times with an expectation and desire to spend a lot of time (dare not chase drama, shopping and entertainment) think that the work carefully prepared is thrown out, but in the end it is a stone sinking into the sea, there is no news. In particular, the national exhibition has high requirements, the number of people entering the exhibition is small, the competition is even more fierce, and the exhibition is like finding a needle in a haystack, just like winning the lottery. From the choice of paper, writing content, work form, font style, etc., it must be repeatedly deliberated and studied. With a further understanding of the knowledge of calligraphy, coupled with a bit of persistence, continuous learning and trying, and finally gradually have some feedback, since 2016, the probability of winning awards in the exhibition has been increasing, and national commercial competitions with certain difficulties have also won awards. Since its inception in 2011, it has been awarded and exhibited more than 50 times. However, the national exhibition of the China Book Association is still lingering outside the door, although it has been disappointed, wandering, and confused. But will not give up, Mr. Wu Changshuo poem: I said that I ask for the jaws and the water, and the eighty men still want it. Since you have chosen, you will continue to insist, have a dream in your heart, and have hope in life! Even if there are ups and downs and pains, the pain is not happy.
Yu Han: In my impression, the post-95s circle of interest is nothing more than cosplay circle, military fan circle, Japanese comic circle, Japanese wind circle, etc. As a young calligrapher, how to sink your heart into calligraphy learning? What are the learning goals in my mind? How is it implemented?
Chu Xu: Our generation of young people is indeed rich in material and spiritual life, and it is indeed not easy to concentrate on the study of calligraphy in various temptations. But we can't think of calligraphy too narrowly, as a traditional art handed down from China for five thousand years, calligraphy in modern society is often "out of the circle": small to the font used in graphic design, as large as a state gift to the heads of state of other countries, as long as there is a Chinese where there is calligraphy. In this way, learning calligraphy is actually a very practical and valuable thing.
I attach more importance to the study of calligraphy theory in my heart, and at present, I am trapped in time and energy, and I can only contact some theoretical related knowledge sporadically, and most of the time I am still in more blind practice. In fact, calligraphy involves a wide range of aspects, and the study of seal writing and the influence of poetry and song are all at the theoretical level. In my humble opinion, when the calligrapher can combine theory and practice and apply this knowledge to the creation of calligraphy, he should be able to get a qualitative improvement.
Yu Han: Li Zhen ChuXu's mother and son can go hand in hand in calligraphy learning, and I would like to know who influenced whom? What are some of the more important twists or changes you have experienced on the road of calligraphy?
Li Zhen: It should be mutual influence. Chu Xu's interest in calligraphy when he was a child came from my enlightenment, and later in the process of accompanying him to learn calligraphy, I picked up the pen again, there is a saying that it is better to teach by example, and it is better to teach by example than to teach by example. Hope to learn and grow with him in this way.
My interest in calligraphy came from the enlightenment and influence of my brother, who strictly required me to write 50 brush characters and 100 pen characters a day when I was studying in my hometown. This is a seed planted when it is young. But after systematic study, he also knows little about calligraphy, thinking that it is just writing brush characters. After a long time, I did not pick up the pen, and the real turning point was to meet Teacher Yang Yaoyang. At that time, Chu Xu was introduced to Yang Yaoyang to learn calligraphy, when he was still young, every time I accompanied my child to a calligraphy class was my happiest moment, because Teacher Yang allowed parents to observe, other parents were outside "Ga Sanhu" waiting for the child to leave class, I sat in the corner of the classroom to listen to the class with him, which was equivalent to a tuition fee for two people to learn, which was also a saving for me who was living on a tight basis at that time, and I still miss Teacher Yang.
During this period, there was a small story, once when handing over the child's homework, I accidentally handed in one of the paintings I was studying, and Teacher Yang knew that I also liked calligraphy, so she gave patient guidance. In 2010, chu xu also applied for the adult 9 level (the highest level) at the same time that Chu Xu applied for the children's 9 level, fortunately, both mother and son successfully passed. In 2011, when the newcomer's new works entered the exhibition, he had one of the conditions to join the Shanghai Calligraphers Association, and in the same year, I applied for the postgraduate class jointly organized by the Shanghai Calligraphers Association and the Shanghai Theater Academy, and began to study systematically, so as to let this seed take root. Later, our mother and son worshiped together under Teacher Zhang Weisheng and received teacher Zhang's sincere teachings, and Teacher Zhang expected us to achieve three "Zhiyuan", that is, "ascending to the heights and far-reaching, accumulating thick and far-reaching, and quiet and far-reaching". During this time, I also met many mentors and friends who helped me to encourage me, as well as the support of my family. Because of their encouragement and encouragement, I have persevered until now, they are the beacons that guide my direction, giving me confidence and strength.
Chu Xu works
Chu Xu: In the initiation stage of calligraphy, my mother mainly influenced me, when I was a child, my mother practiced hard pen calligraphy, and once I accidentally saw my mother with a beautiful pen and characters, I had the idea of learning calligraphy, and after talking to my mother, there was a calligraphy training class in the elementary school at that time, and I signed up. My mother has always been strict with me, and she always accompanied me when I was in calligraphy class, patiently tutoring and supervising me. Later, as my calligraphy level gradually improved, during the period when Yang Yaoyang was a calligraphy teacher, my mother also began to practice calligraphy. Since then, we have been encouraging each other to make progress together.
During the university period, due to accommodation and other reasons, there was a long period of time without practicing words, only occasionally submitted to participate in some competitions, but the harvest was also very small. This period was also a period when my interest in calligraphy was relatively low. Then after several exam failures in my study life, my mother began to urge me to shift the focus of my studies to calligraphy, and I was very disgusted at first, and did not want to easily give up the study and accumulation of this major, but just regarded calligraphy as a common hobby, and stubbornly thought that professional (computer) and calligraphy were difficult to balance. But then my mother and I had a long talk, and took me to see Teacher Zhang Weisheng and Teacher Liu Xiaoqing, they were kind and patient, Teacher Liu said that smart people should work stupidly, but also gave me great encouragement and encouragement, saying that I have good penmanship, and I need to work more stupid to go far. From the book "Yihai Yiyi Shujia Fan", I learned some of Teacher Liu's life experience and the process of learning calligraphy, which strengthened my interest and self-confidence in calligraphy learning. Later, when I learned about the story of Teacher Shang Wei, I regretted and thought that maybe I could also combine professionalism and calligraphy to make something different. As a result, interest in learning calligraphy was rekindled.
Works by Li Zhen
Yu Han: Interest and love are energetic. Which is your favorite of the past generations of scholars? What kind of artistic nourishment do you have?
Li Zhen: I like Zhong Xuan and Wang Xizhi the most in the Wei and Jin Dynasties, as well as Yan Zhenqing in the Tang Dynasty, and the atmosphere of their calligraphy and the changes in their writings have made me feel like I can copy them. I wrote for a while, laid a certain foundation, I remember when I was studying in the play, I listened to the teacher tell the historical background of the second line of yan Zhenqing's "Sacrifice nephew manuscript" in the world, because of the chaos of An Shi and the hatred of the country and the family who lost their relatives, and even more admired Yan Zhenqing's integrity, just the so-called heart is correct. Later, he mainly attacked Xiao Kai, and more of them were Zhong Xuan's "Recommendation Season Straight Table" and "Declaration Table" and Wang Xizhi's "Huang Ting Jing" and "Le Yi Theory". I want to show Zhong Xuan's ancient clumsiness and Wang Xizhi's quiet and elegant atmosphere.
Chu Xu: The first thing I came into contact with was Yan Zhenqing's diligent ceremonial monument, and when I first learned, I only felt that Yan's body was broad and atmospheric, and I didn't think much about it. Later, he was moved by the "Manuscript of the Sacrifice of nephews" and learned that Yan Zhenqing was not only a calligrapher who influenced future generations, but also a patriotic and dedicated loyal subject. The strong, majestic style of his creations in his later years is truly as human as he is. At the same time, he also devoted himself to the innovation of the transformation of the calligraphy, which was a stark difference from other calligraphers in the Tang Dynasty. Give me the inspiration of calligraphy: first, the character is like character, and the attitude of dealing with people will also be reflected in the creation of calligraphy; second, artistic creation should seek innovation and change, blindly imitating the ancients is just a ruthless copying machine. In 2019, the Tokyo National Museum of Japan launched a special exhibition of Yan Zhenqing, the title is "Yan Zhenqing: Beyond Wang Xizhi's Famous Pen", although it is a bit exaggerated praise, it can also be seen that its impact on future generations is so far-reaching, if the Yan body follows the rules and has no new ideas, it is difficult to have such achievements.
I love Sun Guoting in cursive writing, he is very unique in the inheritance and innovation of the two kings, and he also has his own understanding of calligraphy theory, believing that the aesthetic concept of calligraphy should be "tending to change in a timely manner". Oppose the conservative attitude of using calligraphy as a secret and choosing others to teach. His cursive writing technique is exquisite, blending both simple and beautiful styles, the pen edge is unpredictable, the gestures are free, and it also affects my cursive writing at all times. Sun Guoting believes that Xishu should be integrated and intersected by five bodies, but he is also specialized in one, which is a great inspiration for me to learn calligraphy. Both writers teach us to learn from the experience of our predecessors and incorporate our own innovations.
Li Zhen Exhibited works at the 4th Shanghai Book Fair
Yu Han: Can you talk about the creation of a selected work?
Li Zhen: Talking about the recent creation of the Fourth Shanghai Book Fair, when I saw the call for papers, I had a strong desire to participate, because I usually wrote the most letters, and I felt that it was an opportunity to test. At that time, I read the content and requirements of the notice and the deadline very carefully, which was very important, because I still had to work and various trifles, and I could only use my spare time to arrange it reasonably, and there were only 40 days from the call for papers to the deadline, which was still relatively tight. I first identified the theme of the mission, vision and core values of the "Shanghai Rural Commercial Bank Cup" that fit the organizers of this time as the writing content, and then began to consider what form to present, and a few small samples were not too satisfactory.
The sense of form of creation is still very important, if it is relatively easy to write on the finished paper, but there will be similarities and there is no novelty. Especially in the preliminary evaluation, the judges first see the overall effect and visual impact, just like a beautiful woman, your facial features are good-looking, but the overall impression of the rough body is not good, first look at the overall image, and then the details. Therefore, this submission took a lot of time to consider the form of creation, and then turned over the wax-dyed strip screen paper purchased three years ago and finally had inspiration, and finally decided to use the vertical color block form, with 3 antique colors in the middle to write the text, up and down with white writing auxiliary text, and then simply on the plutonium on a few square seals to embellish. Form a dense contrast of words and a transitional contrast of colors to achieve a fresh and elegant visual effect. From determining the content and form, choosing paper to writing, it took more than two weeks before and after, the whole process is relatively smooth, and the splicing after writing is another problem, and I have tried to do it myself before, which is always uneven. However, the splicing includes scribing and playing the grid, which is also part of the creative ability, and the time for sending it out to be spliced is also relatively tight, and in the end, it is still hard to stitch itself. When all is completed, it is not far from the deadline, hurry up and pack and send it out, I didn't expect to win the prize, so I am still very grateful to the judges and teachers for their love!
Chu Xu: Before participating in the 10th Shanghai Seal Calligraphy Exhibition, although there were also participation in the previous Seal Li Exhibition, but because the Seal Li is not a good project, and all the previous works without exception are all stopped at the exhibition, so the interest in submitting articles is not great. However, in the end, with the encouragement of his family, with the attitude of trying it out, he tried the big character works. The choice of the book style is the same as in previous editions, which is an inscription of the King of Zhongshan, and the content is a couplet about the "Shi Shuo". After writing several drafts, I felt that the two sides were empty, and the whole was somewhat monotonous, so the original text of "The Master Said" was copied on both sides of the text in small character cursive, and the cursive and seal books complemented each other perfectly, and they were more satisfied, and finally won the award at the seal exhibition. It seems that for calligraphy creation and submission, we must not be afraid of failure, we must have the spirit of not abandoning and not giving up, but also boldly seek changes, give full play to our own strengths, and make the works go to a higher level.
Chu Xu The winning works of the 10th Shanghai Seal Exhibition
Listen to Li Zhen talk about the journey of the heart
Chu Xu shared his feelings of growth
It's like traveling takes place
The timeline is being generated
It is the power that drives from imagination to reality
Li Zhen said that there are conditions now
Ready to move
from now on
They will have a garden
There was also a big quiet desk
Yu Han (Xu Haihong), journal editor. Member of the Publishing and Media Promotion Committee of the Shanghai Book Association. He is the author of "The Cup of Longing- A Taste of Modern Chinese and Foreign Poetry" (published by Shanghai Literature and Art Publishing House), "Meet You- Interviews with Celebrities in the Art World" (all two volumes, published by Shanghai Dictionary Publishing House), "Heavy Snow in the World" (published by Shanghai Culture Publishing House) and so on.
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